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The Heritage of Rogier Van Der Weyden. Painting in Brussels 1450-1520
Press Release Royal Museums of Fine Arts of Belgium The heritage of Rogier van der Weyden. Painting in Brussels 1450-1520. 11.10 2013 > 25.01 2014 In the autumn of 2013 the Royal Museums of Fine Arts of Belgium will stage an exhibition devoted to painting in Brussels in the period between the death of Rogier van der Weyden (1464) and the activity of Bernard van Orley (1515- 1541). At that moment Brussels was a thriving town. The Coudenberg Palace being the favourite residence of the dukes of Burgundy. It was surrounded by the palaces of courtiers and noble families like the Nassau or the Ravenstein. They were all important patrons of the arts. It is difficult to identify the painters of this period. Among the painters active in Brussels at that moment, Colyn de Coter is the only one of whose signed work has come down to us. Rogier van der Weyden, Portrait of Antony of Bourgondy ca. 1430 -1504 (1456 - 1464), Oak, 38,4 x 28 x 0,4 cm ©MRBAB/KMSKB Through a document we know that Aert van den Bossche painted a triptych for the Saint Nicolas church. Pieter van der Weyden, who inherited the famous workshop of his father Rogier, is mentioned in several documents, but no painting can be attributed with certainty to him. On the other hand, there are unsigned and undocumented paintings that show a strong influence of Rogier van der Weyden, or others with the inscription "te Bruesele" - made in Brussels - and some that prominently depict Brussels monuments, like the Saint Gudula Cathedral. -
Instructions and Techniques *
UvA-DARE (Digital Academic Repository) Discoloration in Renaissance and Baroque Oil Paintings. Instructions for Painters, theoretical Concepts, and Scientific Data van Eikema Hommes, M.H. Publication date 2002 Link to publication Citation for published version (APA): van Eikema Hommes, M. H. (2002). Discoloration in Renaissance and Baroque Oil Paintings. Instructions for Painters, theoretical Concepts, and Scientific Data. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 Verdigriss Glazes in Historical Oil Paintings: Instructions and Techniques * 'Lje'Lje verdegris distillépourglacer ne meurt point? Dee Mayerne (1620-46), BL MS Sloane 2052 'Vert'Vert de gris... ne dure pas & elk devient noire.' Dee la Hire, 1709 InterpretationInterpretation of green glares Greenn glazes were commonly used in oil paintings of the 15th to 17th centuries for the depiction of saturated greenn colours of drapery and foliage. -
Descarga Aquí Función, Símbolo Y Significado En
[Recepción del artículo: 11/07/2014] [Aceptación del artículo revisado: 12/12/2014] FUNCIÓN, SÍMBOLO Y SIGNIFICADO EN LAS ESCENOGRAFÍAS DE LOS PRIMITIVOS FLAMENCOS: UNA ARQUITECTURA PICTÓRICA PARA LA CONTEMPLACIÓN FUNCTION, SYMBOL AND MEANING IN THE SCENOGRAPHIES OF EARLY FLEMISH: A PICTORIAL ARQUITECTURE FOR CONTEMPLATION MARÍA RODRÍGUEZ VELASCO Universidad CEU San Pablo [email protected] RESUMEN La arquitectura revela de forma directa su funcionalidad y el carácter sacro de sus estructuras. Pero los Primitivos Flamencos convierten sus escenografías en fuente de inagotables significa- dos a partir de “simbolismos disfrazados”. Para configurar sus programas iconográficos estos pintores parten de textos de la tradición cristiana y de la teología de la Edad Media. Este texto trata de profundizar en la relación entre arquitectura, liturgia y símbolos a través de las obras de R. Campin, D. Bouts y V. van der Stockt conservadas en el Museo del Prado. PALABRAS CLAVE: Arquitectura, Iconografía, Primitivos Flamencos, R. Campin, D. Bouts y V. van der Stockt. ABSTRACT The architecture directly reveals its functionality and the sacredness of their structures. But the Early Flemish transform their scenography in an endless source of meanings from “disgui- sed symbolism”. To set their iconographic these painters based on the Christian tradition and theology of the Middle Ages. This text intends to go in depth the relationship between archi- tecture, liturgy and symbols through the works of R. Campin, D. Bouts and V. van der Stockt preserved in the Museo del Prado. KEYWORDS: Architecture; Iconography; Early Flemish; R. Campin; D. Bouts y V. van der Stockt. Codex Aquilarensis 30/2014, pp. -
Josephine Mary Alexander Phd Thesis
THE THEME OF THE WISE AND FOOLISH VIRGINS AS PART OF THE LAST JUDGEMENT ICONOGRAPHY IN FLANDERS AND ITALY IN THE LATE 15TH AND THE 16TH CENTURIES Josephine Mary Alexander A Thesis Submitted for the Degree of MPhil at the University of St Andrews 1981 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/15249 This item is protected by original copyright ABSTRACT The parable of the Wise and Foolish Virgins is told in Matthew's Gospel, Ch.25, v1-13, as an allegory of the Last Judgement. This thesis sets out to examine firstly, how closely the parable is related to the iconography of the Last Judgement in the art of the 15th and 16th centuries; secondly to demonstrate how its inter pretation came to be broadened by association with other biblical themes, themselves part of the Last Judgement iconography. Part I traces the origins and develop ment of the theme from early Christian times to the 15th century. In these early sources the artistic tradition of linking the parable to the Last Judgement was first established; the Wise and Foolish Virgins were also linked with Ecclesia and Synagogue and with the Virtues and Vices; and the typological tradition of biblical illustration broadened the theme further by pairing it with other biblical feasts. Appendix I is a handlist of the Wise and Foolish Virgins up till the late 15th century and it illustrates how popular the theme had become by the Middle Ages. -
'A Man of Sorrows, and Acquainted with Grief'
‘A Man of Sorrows, and Acquainted with Grief’ Imagery of the Suffering Christ in the Art of the Late Medieval Low Countries and Counter-Reformation Spain Candidate Number: R2203 MA Art History, Curatorship and Renaissance Culture The Warburg Institute, School of Advanced Study 30/09/2015 Word Count: 14,854 Table of Contents Introduction 3 Chapter 1: The Man of Sorrows – A Reassessment 6 Chapter 2: Early Netherlandish Images of the Suffering Christ 14 Chapter 3: Counter-Reformation Spanish Polychrome Sculptures 21 Chapter 4: Comparison and Analysis: Netherlandish Influences on Spanish Polychrome Sculpture 27 Conclusion 35 Figures 37 Table of Figures 56 Bibliography 58 2 Introduction During the later Middle Ages in Europe, there was a great increase in private devotion: a rise in the production of Books of Hours, the increase of mendicant orders and the new development of private chapels in churches and cathedrals all contributed towards religion being much more personal and intimate than ever before.1 Especially in Northern Europe, where the Imitatio Christi of Thomas à Kempis2 gained previously unknown popularity, private devotion was encouraged. The Devotio Moderna, which took hold especially in the Low Countries and Germany, emphasised a systematic and personal approach to prayer.3 Devotional images, which could engage with believers on a one-on-one, personal level, were majorly important features of way of practising religion, and the use of images as foci for devotion was encouraged by many writers, not only Thomas à Kempis, but also -
BULLETIN DEC H 74 ALLEN^ MEMORIAL ART MUSEUM OBERLIN COLLEGE XXXU, 1, 1974-75
(feed In fMlep Library BULLETIN DEC h 74 ALLEN^ MEMORIAL ART MUSEUM OBERLIN COLLEGE XXXU, 1, 1974-75 ALLEN MEMORIAL ART MUSEUM BULLETIN VOLUME XXXII, NUMBER 1 1974-75 Contents Wolfgang Stechow 1896-1974 ...... 3 Acquisitions: 1973-74 by Richard E. Spear ...... (, Accessions --------- 16 St. Catherine Disputing with the Philosophers, an Early Work by the Master of St. G-udule by Maryan W. Ainsworth ....... 22 A Landscape Handscroll by Hsiao Yiin-ts'ung by Daphne Lange Rosenzweig ----- 34 Oberlin's Acquisitions Ethics Policy ----- 57 Notes Exhibitions 1974-75 60 Oberlin-Ashland Archaeological Society 60 Baldwin Seminar - - - - - - - 61 Friends of Art Concert Series - - - - - 61 Friends of Art Film Series ------ 61 Oberlin Friends of Art ------ 62 Published twice a year by the Allen Art Museum, Oberlin College, Oberlin, Ohio. $6.00 a year, this issue $3.00; mailed free to members of the Oberlin Friends of Art. Back issues available on microfilm from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Printed by the Press of the Times, Oberlin, Ohio Wolfgang Stechow 1896-1974 Wolfgang Stechow Wolfgang Stechow, editor of this Bulletin, a mystery to his colleagues in Europe, and even beloved colleague, teacher and friend to a multi to those in the larger American universities. tude of persons both at Oberlin and throughout The presence of the museum, and also that of the world of art, died on October 12 at the age the Conservatory, had much to do with his of seventy-eight. When word was received of his staying, of course. But those who have taught sudden death in Princeton, where he had a teach at Oberlin any length of time and have en ing appointment for the fall term, the current countered generation after generation of the issue was already in proof. -
Ana Diéguez-Rodríguez the Artistic Relations Between Flanders and Spain in the 16Th Century: an Approach to the Flemish Painting Trade
ISSN: 2511–7602 Journal for Art Market Studies 2 (2019) Ana Diéguez-Rodríguez The artistic relations between Flanders and Spain in the 16th Century: an approach to the Flemish painting trade ABSTRACT Such commissions were received by important workshops and masters with a higher grade of This paper discusses different ways of trading quality. As the agent, the intermediary had to between Flanders and Spain in relation to take care of the commission from the outset to paintings in the sixteenth century. The impor- the arrival of the painting in Spain. Such duties tance of local fairs as markets providing luxury included the provision of detailed instructions objects is well known both in Flanders and and arrangement of shipping to a final destina- in the Spanish territories. Perhaps less well tion. These agents used to be Spanish natives known is the role of Flemish artists workshops long settled in Flanders, who were fluent in in transmitting new models and compositions, the language and knew the local trade. Unfor- and why these remained in use for longer than tunately, very little correspondence about the others. The article gives examples of strong commissions has been preserved, and it is only networks among painters and merchants the Flemish paintings and altarpieces pre- throughout the century. These agents could served in Spanish chapels and churches which also be artists, or Spanish merchants with ties provide information about their workshop or in Flanders. The artists become dealers; they patron. would typically sell works by their business Last, not least it is necessary to mention the partners not only on the art markets but also Iconoclasm revolt as a reason why many high in their own workshops. -
Colijn De Coter, the Lamentation (Pietà), Ca
Fall 2020 Faculty Curriculum: Resiliency and Surviving Trauma Colijn de Coter, The Lamentation (Pietà), ca. 1510-15 Oil on three joined oak panels left: 44 x 14 5/8 in., center: 41 1/2 x 29 1/8 in., right: 43 7/8 x 14 5/8 in. Gift of Charles R. Crane, 13.1.1 Fall 2020 Faculty Curriculum: Resiliency and Surviving Trauma Artist Biography Few surviving archival documents provide us with details of the life and career of the painter Colijn de Coter (Netherlandish, ca. 1455—ca. 1538/1539). His name is mentioned in the contracts for two artworks (both of which are now lost or unidentified) and is inscribed on only three surviving paintings, although more have been attributed to him (like the Chazen’s painting). His birthdate can be extrapolated from the information presented in a later document dated 1479 in which he is described as a married painter and the tenant of a house in Brussels. He appears registered as a free master with the painters’ Guild of St. Luke in Antwerp as “Colyn van Brusele” (Colin of Brussels), who was commissioned to paint the vault of a chapel near Mechelen. The account books of the Brussels Confraternity of St. Eligius record that the artist was paid for a painting between 1509 and 1511. He likely died in or shortly before 1538-39. Known at the time as the “Low Countries,” the areas of present-day Belgium (including Brussels), Luxembourg, and the Netherlands were under the rule of the duchy of Burgundy from the end of the fourteenth to the end of the fifteenth centuries, along with Northern France. -
PROVISIONAL PROGRAM HNA Conference 2022
PROVISIONAL PROGRAM HNA Conference 2022 Amsterdam and The Hague, Netherlands HNA CONFERENCE 2022 Amsterdam and The Hague 2-4 June 2022 Program committee: Stijn Bussels, Leiden University (chair) Edwin Buijsen, Mauritshuis Suzanne Laemers, RKD – Netherlands Institute for Art History Judith Noorman, University of Amsterdam Gabri van Tussenbroek, University of Amsterdam | City of Amsterdam Abbie Vandivere, Mauritshuis and University of Amsterdam KEYNOTE LECTURES ClauDia Swan, Washington University A Taste for Piracy in the Dutch Republic 1 The global baroque world was a world of goods. Transoceanic trade routes compounded travel over land for commercial gain, and the distribution of wares took on global dimensions. Precious metals, spices, textiles, and, later, slaves were among the myriad commodities transported from west to east and in some cases back again. Taste followed trade—or so the story tends to be told. This lecture addresses the traffic in global goods in the Dutch world from a different perspective—piracy. “A Taste for Piracy in the Dutch Republic” will present and explore exemplary narratives of piracy and their impact and, more broadly, the contingencies of consumption and taste- making as the result of politically charged violence. Inspired by recent scholarship on ships, shipping, maritime pictures, and piracy this lecture offers a new lens onto the culture of piracy as well as the material goods obtained by piracy, and how their capture informed new patterns of consumption in the Dutch Republic. Jan Blanc, University of Geneva Dutch Seventeenth Century or Dutch Golden Age? Words, concepts and ideology Historians of seventeenth-century Dutch art have long been accustomed to studying not only works of art and artists, but also archives and textual sources. -
Visions and Meditations in Early Flemish Painting Craig Harbison
Visions and Meditations in Early Flemish Painting Craig Harbison Simiolus: Netherlands Quarterly for the History of Art, Vol. 15, No. 2. (1985), pp. 87-118. Stable URL: http://links.jstor.org/sici?sici=0037-5411%281985%2915%3A2%3C87%3AVAMIEF%3E2.0.CO%3B2-X Simiolus: Netherlands Quarterly for the History of Art is currently published by Stichting voor Nederlandse kunsthistorishes publicaties. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/svnk.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is an independent not-for-profit organization dedicated to and preserving a digital archive of scholarly journals. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Sat May 19 12:02:39 2007 Visions and meditations in early Flemish paintingX Craig Harbison In fifteenth-century Flanders we find a religious art in gious movements at the time, of which the chief w.as which individual piety is the prime motivating force; known as the Modern Devotion, were specificall!- dedi- not scholastic disputation, transcendent ecstasy or litur- cated to mot-ing beyond the monastic perimeters which gical ritual, but a calculated, personal religious espe- had at least partly restricted earlier revitalization ef- rience, the vision or meditation is found at the center of forts.' La!- brother and sisterhoods and the use of the things. -
April 2007 Newsletter
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 24, No. 1 www.hnanews.org April 2007 Have a Drink at the Airport! Jan Pieter van Baurscheit (1669–1728), Fellow Drinkers, c. 1700. Rijksmuseum, Amsterdam. Exhibited Schiphol Airport, March 1–June 5, 2007 HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Officers President - Wayne Franits Professor of Fine Arts Syracuse University Syracuse NY 13244-1200 Vice President - Stephanie Dickey Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Treasurer - Leopoldine Prosperetti Johns Hopkins University North Charles Street Baltimore MD 21218 European Treasurer and Liaison - Fiona Healy Marc-Chagall-Str. 68 D-55127 Mainz Germany Board Members Contents Ann Jensen Adams Krista De Jonge HNA News .............................................................................. 1 Christine Göttler Personalia ................................................................................ 2 Julie Hochstrasser Exhibitions ............................................................................... 2 Alison Kettering Ron Spronk Museum News ......................................................................... 5 Marjorie E. Wieseman Scholarly Activities Conferences: To Attend .......................................................... -
Sign of the Times a Concise History of the Signature in Netherlandish Painting 1432-1575
SIGN OF THE TIMES A CONCISE HISTORY OF THE SIGNATURE IN NETHERLANDISH PAINTING 1432-1575 [Rue] [Date et Heure] Ruben Suykerbuyk Research Master’s Thesis 2012-2013 Supervisor: Prof. Dr. P.A. Hecht Art History of the Low Countries in its European Context Utrecht University – Faculty of Humanities (xxx)yyy-yyyy “Wenn eine Wissenschaft so umfassend, wie die Kunstgeschichte es tut und tun muß, von Hypothesen jeden Grades Gebrauch macht, so tut sie gut daran, die Fundamente des von ihr errichteten Gebäudes immer aufs neue auf ihre Tragfähigkeit zu prüfen. Im folgenden will ich an einigen Stellen mit dem Hammer anklopfen.” Dehio 1910, p. 55 TABLE OF CONTENTS VOLUME I I. INTRODUCTION 1 II. PROLOGUE 9 III. DEVELOPMENTS IN ANTWERP 19 Some enigmatic letters 22 The earliest signatures 28 Gossart’s ‘humanistic’ signature 31 Increasing numbers 36 Proverbial exceptions 52 A practice spreads 54 IV. EPILOGUE 59 V. CONCLUSION 63 VI. BIBLIOGRAPHY 66 VOLUME II I. IMAGES II. APPENDICES Appendix I – Timeline Appendix II – Signatures Marinus van Reymerswale Appendix III – Authentication of a painting by Frans Floris (1576) Appendix IV – Signatures Michiel Coxcie I. INTRODUCTION 1 Investigating signatures touches upon the real core of art history: connoisseurship. The construction of oeuvres is one of the basic tasks of art historians. Besides documents, they therefore inevitably have to make use of signatures. However, several great connoisseurs – Berenson, Friedländer – emphasize that signatures are faked quite often. Consequently, an investigation of signature practices can easily be criticized for the mere fact that it is very difficult to be sure of the authenticity of all the studied signatures.